1991 (English) is a studio album released in 2023, containing 6 tracks.
Composed, produced and mastered like in the 80s, by Mart.

Interview

What can you tell us about the new work ‘1991’?

It is a return to the sonic roots of Símbolo, in a controlled way, thanks to digital technology. In 1988 I started composing my first album, Le Sacrè du Printemps, released by Cri du Chat Disques, which marked my original sound. At the time, I didn't have the technological resources that I have today. I had a Roland Alpha Juno-1 synthesizer, a Roland TR-707 drum machine, and a Roland TB-303 bass line; but what gave personality to the sound of these three instruments together was the Boss RV-2 pedal.

When and how did you discover EBM (Electronic Body Music)?

In 1988, when I started Símbolo, I didn't know about EBM, it was the people at Cri du Chat Disques who showed me. I knew industrial music because of the Faculdade de Belas Artes de São Paulo, in 1980, where I had contact with the artistic movements of which Art Nouveau (industrialist) is a part. That's when I wanted to make music with machines. Maybe because I was born in Brás, an originally industrial neighborhood. My family had an industrial business. I wanted Símbolo to be part of the city's cultural scene, so much so that the first shows were in theaters, cultural centers and programs like Metrópolis, on TV Cultura. The following shows were in “underground” places, as recommended by Cri du Chat Disques. From then on, Símbolo began to be labeled an EBM band; not before.

Símbolo's shows were also intense because of the backlighting and smoke. What is the idea behind this?

Yes. A striking image is the Cubatão Industrial Complex, at night. It is of singular beauty, with flaming chimneys in the middle of the fog. I also witnessed this scene at the Camaçari Petrochemical Complex, in Bahia. At shows, I captured that industrial atmosphere.

When and why did Símbolo start doing vocals via computer?

It was in 2006. To do justice to the concept of “music made by machines”, I decided to take this 100% literally. Today, the machine is the computer.

Símbolo started as a duo. When and why did you start working alone?

Símbolo went through three formations as a duo and I thank my former teammates, as each one had their own importance; but when I started doing the vocals on the computer, I realized that Símbolo was moving towards something more personal; an art project and no longer a band.

I understood. So, once you have defined that Símbolo is a solo, industrial music project, what can you tell us about your influences?

The pillars of the Símbolo are: minimal, serial, concrete, industrial. When you have solid foundations, like these, you don't need references, the pillars put the work on track. My influence is art; I am moved by concepts, methods and patterns. But there are artists that I like, and if I like them, it's because they are under these four pillars.

Can you cite an example?

Philip Glass. In the 80s, I went to his show.

In the track ‘Go Brasil’ there is a couple’s argument. What does this have to do with corporate life?

There are two co-workers watching the Brazilian football game in the bar, near the office. I was at the next table, I heard it and decided to adapt it and put it on the Simetria album.

I have noticed changes in the songs.

I periodically make changes, adjustments and adjustments to improve the product's marketing potential. Without commercial viability, a project, even if artistic, cannot be sustained.

Why is the album Le Sacrè du Printemps not on the website?

To enter the site, the first works, those released by Cri du Chat Disques, would have to be at the current production standard. I don't want to change the standard of these albums, as I would run the risk of diluting the original work.

A final word?

The Símbolo reinvented itself.
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